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First to disembark were passengers traveling first class -
businessmen, well-to-do families, students. In second class, where
I was, there were the emigrants, most of us tabaqueros, or cigar
workers... Thus writes Bernardo Vega in this collection of engaging
and readable first-hand reminiscences about the mid-20th-century
migration from Puerto Rico to the U.S. The documentary importance
of these testimonies is evident, particularly in their capturing of
the actual voyage from Puerto Rico and arrival in New York. Unlike
more recent writings about the migration, where attention is
riveted on the later process of settlement and intergenerational
adjustment, the older narratives dwell on the psychological and
existential trauma of arrival and first impressions. In this
collection, the element of class difference within the migrating
population stands out sharply. While in subsequent literature such
issues become more intricate and representation of the social
classes more oblique, these early texts show that it was a divided
arrival. For despite the structural uniformity and overwhelmingly
working-class composition of the immigration, Puerto Ricans came to
New York with divergent interests and understandings depending on
their class.
In the 1920s and 30s, musicians from Latin America and the
Caribbean were flocking to New York, lured by the burgeoning
recording studios and lucrative entertainment venues. In the late
1940s and 50s, the big-band mambo dance scene at the famed
Palladium Ballroom was the stuff of legend, while modern-day music
history was being made as the masters of Afro-Cuban and jazz idiom
conspired to create Cubop, the first incarnation of Latin jazz.
Then, in the 1960s, as the Latino population came to exceed a
million strong, a new generation of New York Latinos, mostly Puerto
Ricans born and raised in the city, went on to create the music
that came to be called salsa, which continues to enjoy avid
popularity around the world. And now, the children of the mambo and
salsa generation are contributing to the making of hip hop and
reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto
Rican bomba, and Dominican palo. Salsa Rising provides the first
full-length historical account of Latin Music in this city guided
by close critical attention to issues of tradition and
experimentation, authenticity and dilution, and the often clashing
roles of cultural communities and the commercial recording industry
in the shaping of musical practices and tastes. It is a history not
only of the music, the changing styles and practices, the
innovators, venues and songs, but also of the music as part of the
larger social history, ranging from immigration and urban history,
to the formation of communities, to issues of colonialism, race and
class as they bear on and are revealed by the trajectory of the
music. Author Juan Flores brings a wide range of people in the New
York Latin music field into his work, including musicians,
producers, arrangers, collectors, journalists, and lay and academic
scholars, enriching Salsa Rising with a unique level of engagement
with and interest in Latin American communities and musicians
themselves.
Moral Hazard is a core concept in economics. In a nutshell, moral
hazard reflects the reduced incentive to protect against risk where
an entity is (or believes it will be) protected from its
consequences, whether through an insurance arrangement or an
implicit or explicit guarantee system. It is fundamentally driven
by information asymmetry, arises in all sectors of the economy,
including banking, medical insurance, financial insurance, and
governmental support, undermines the stability of our economic
systems and has burdened taxpayers in all developed countries,
resulting in significant costs to the community. Despite the
seriousness and pervasiveness of moral hazard, policymakers and
scholars have failed to address this issue. This book fills this
gap. It covers 200 years of moral hazard: from its origins in the
19th century to the bailouts announced in the aftermath of the
COVID-19 outbreak. The book is divided into three parts. Part I
deals with the ethics and other fundamental issues connected to
moral hazard. Part II provides historical and empirical evidence on
moral hazard in international finance. It examines in turn the role
of the export credit industry, the international lender of last
resort, and the IMF. Finally, Part III examines specific sectors
such as automobile, banking, and the US industry at large. This is
the first book to provide an interdisciplinary analysis of moral
hazard and explain why addressing this issue has become crucial
today. As such, it will attract interest from scholars across
different fields, including economists, political scientists and
lawyers.
Moral Hazard is a core concept in economics. In a nutshell, moral
hazard reflects the reduced incentive to protect against risk where
an entity is (or believes it will be) protected from its
consequences, whether through an insurance arrangement or an
implicit or explicit guarantee system. It is fundamentally driven
by information asymmetry, arises in all sectors of the economy,
including banking, medical insurance, financial insurance, and
governmental support, undermines the stability of our economic
systems and has burdened taxpayers in all developed countries,
resulting in significant costs to the community. Despite the
seriousness and pervasiveness of moral hazard, policymakers and
scholars have failed to address this issue. This book fills this
gap. It covers 200 years of moral hazard: from its origins in the
19th century to the bailouts announced in the aftermath of the
COVID-19 outbreak. The book is divided into three parts. Part I
deals with the ethics and other fundamental issues connected to
moral hazard. Part II provides historical and empirical evidence on
moral hazard in international finance. It examines in turn the role
of the export credit industry, the international lender of last
resort, and the IMF. Finally, Part III examines specific sectors
such as automobile, banking, and the US industry at large. This is
the first book to provide an interdisciplinary analysis of moral
hazard and explain why addressing this issue has become crucial
today. As such, it will attract interest from scholars across
different fields, including economists, political scientists and
lawyers.
In The Diaspora Strikes Back the eminent ethnic and cultural
studies scholar Juan Flores flips the process on its head: what
happens to the home country when it is being constantly fed by
emigrants returning from abroad? He looks at how 'Nuyoricans'
(Puerto Rican New Yorkers) have transformed the home country,
introducing hip hop and modern New York culture to the Caribbean
island. While he focuses on New York and Mayaguez (in Puerto Rico),
the model is broadly applicable. Indians introducing contemporary
British culture to India; New York Dominicans bringing slices of
New York culture back to the Dominican Republic; Mexicans bringing
LA culture (from fast food to heavy metal) back to Guadalajara and
Monterrey. This ongoing process is both massive and global, and
Flores' novel account will command a significant audience across
disciplines.
In The Diaspora Strikes Back the eminent ethnic and cultural
studies scholar Juan Flores flips the process on its head: what
happens to the home country when it is being constantly fed by
emigrants returning from abroad? He looks at how 'Nuyoricans'
(Puerto Rican New Yorkers) have transformed the home country,
introducing hip hop and modern New York culture to the Caribbean
island. While he focuses on New York and Mayaguez (in Puerto Rico),
the model is broadly applicable. Indians introducing contemporary
British culture to India; New York Dominicans bringing slices of
New York culture back to the Dominican Republic; Mexicans bringing
LA culture (from fast food to heavy metal) back to Guadalajara and
Monterrey. This ongoing process is both massive and global, and
Flores' novel account will command a significant audience across
disciplines.
This is an open access title available under the terms of a CC
BY-NC-ND 4.0 International licence. It is free to read at Oxford
Scholarship Online and offered as a free PDF download from OUP and
selected open access locations. Sovereign Debt Diplomacies aims to
revisit the meaning of sovereign debt in relation to colonial
history and postcolonial developments. It offers three main
contributions. The first contribution is historical. The volume
historicises a research field that has so far focused primarily on
the post-1980 years. A focus on colonial debt from the 19th century
building of colonial empires to the decolonisation era in the
1960s-70s fills an important gap in recent debt historiographies.
Economic historians have engaged with colonialism only reluctantly
or en passant, giving credence to the idea that colonialism is not
a development that deserves to be treated on its own. This has led
to suboptimal developments in recent scholarship. The second
contribution adds a 'law and society' dimension to studies of debt.
The analytical payoff of the exercise is to capture the current
developments and functional limits of debt contracting and
adjudication in relation to the long-term political and
sociological dynamics of sovereignty. Finally, Sovereign Debt
Diplomacies imports insights from, and contributes to the body of
research currently developed in the Humanities under the label
'colonial and postcolonial studies'. The emphasis on 'history from
below' and focus on 'subaltern agency' usefully complement the
traditional elite-perspective on financial imperialism favoured by
the British school of empire history.
In the 1920s and 30s, musicians from Latin America and the
Caribbean were flocking to New York, lured by the burgeoning
recording studios and lucrative entertainment venues. In the late
1940s and 50s, the big-band mambo dance scene at the famed
Palladium Ballroom was the stuff of legend, while modern-day music
history was being made as the masters of Afro-Cuban and jazz idiom
conspired to create Cubop, the first incarnation of Latin jazz.
Then, in the 1960s, as the Latino population came to exceed a
million strong, a new generation of New York Latinos, mostly Puerto
Ricans born and raised in the city, went on to create the music
that came to be called salsa, which continues to enjoy avid
popularity around the world. And now, the children of the mambo and
salsa generation are contributing to the making of hip hop and
reviving ancestral Afro-Caribbean forms like Cuban rumba, Puerto
Rican bomba, and Dominican palo. Salsa Rising provides the first
full-length historical account of Latin Music in this city guided
by close critical attention to issues of tradition and
experimentation, authenticity and dilution, and the often clashing
roles of cultural communities and the commercial recording industry
in the shaping of musical practices and tastes. It is a history not
only of the music, the changing styles and practices, the
innovators, venues and songs, but also of the music as part of the
larger social history, ranging from immigration and urban history,
to the formation of communities, to issues of colonialism, race and
class as they bear on and are revealed by the trajectory of the
music. Author Juan Flores brings a wide range of people in the New
York Latin music field into his work, including musicians,
producers, arrangers, collectors, journalists, and lay and academic
scholars, enriching Salsa Rising with a unique level of engagement
with and interest in Latin American communities and musicians
themselves.
This pioneering book, a founding text of African Diaspora studies,
continues to hold a prominent place in any bibliography of its
field and remains the only general history on the people of African
descent in the Spanish-speaking nations of the Western hemisphere.
Rout engagingly presents the broad historical contours of the
African experience in Spanish America, from enslavement,
resistance, and rebellion to the crucial participation of
Afro-Latin Americans in the wars of independence, and a
region-by-region account of their varied treatment in the
newly-founded republics from the nineteenth century to the modern
era.
The Afro-Latin@ Reader focuses attention on a large, vibrant, yet
oddly invisible community in the United States: people of African
descent from Latin America and the Caribbean. The presence of
Afro-Latin@s in the United States (and throughout the Americas)
belies the notion that Blacks and Latin@s are two distinct
categories or cultures. Afro-Latin@s are uniquely situated to
bridge the widening social divide between Latin@s and African
Americans; at the same time, their experiences reveal pervasive
racism among Latin@s and ethnocentrism among African Americans.
Offering insight into Afro-Latin@ life and new ways to understand
culture, ethnicity, nation, identity, and antiracist politics, The
Afro-Latin@ Reader presents a kaleidoscopic view of Black Latin@s
in the United States. It addresses history, music, gender, class,
and media representations in more than sixty selections, including
scholarly essays, memoirs, newspaper and magazine articles, poetry,
short stories, and interviews.While the selections cover centuries
of Afro-Latin@ history, since the arrival of Spanish-speaking
Africans in North America in the mid-sixteenth-century, most of
them focus on the past fifty years. The central question of how
Afro-Latin@s relate to and experience U.S. and Latin American
racial ideologies is engaged throughout, in first-person accounts
of growing up Afro-Latin@, a classic essay by a leader of the Young
Lords, and analyses of U.S. census data on race and ethnicity, as
well as in pieces on gender and sexuality, major-league baseball,
and religion. The contributions that Afro-Latin@s have made to U.S.
culture are highlighted in essays on the illustrious Afro-Puerto
Rican bibliophile Arturo Alfonso Schomburg and music and dance
genres from salsa to mambo, and from boogaloo to hip hop. Taken
together, these and many more selections help to bring Afro-Latin@s
in the United States into critical view. Contributors:
Afro–Puerto Rican Testimonies Project, Josefina Baéz, Ejima
Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian Burgos Jr.,
Ginetta E. B. Candelario, Adrián Castro, Jesús Colón, Marta I.
Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra MarĂa
Esteves, MarĂa Teresa Fernández (Mariposa), Carlos Flores, Juan
Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser, Virginia
Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo
“Yoruba” Guzmán, Gabriel Haslip-Viera, Tanya K. Hernández,
Victor Hernández Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans,
Vielka Cecilia Hoy, Alan J. Hughes, MarĂa Rosario Jackson, James
Jennings, Miriam Jiménez Román, Angela Jorge, David Lamb, Aida
Lambert, Ana M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John
Logan, Antonio LĂłpez, Felipe Luciano, Louis Pancho McFarland, Ryan
Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel
Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno
Vega, Willie Perdomo, Graciela Pérez Gutiérrez, Sofia Quintero,
Ted Richardson, Louis Reyes Rivera, Pedro R. Rivera , Raquel Z.
Rivera, Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio
Torres-Saillant, Nilaja Sun, Sherezada “Chiqui” Vicioso, Peter
H. Wood
"The Afro-Latin@ Reader" focuses attention on a large, vibrant, yet
oddly invisible community in the United States: people of African
descent from Latin America and the Caribbean. The presence of
Afro-Latin@s in the United States (and throughout the Americas)
belies the notion that Blacks and Latin@s are two distinct
categories or cultures. Afro-Latin@s are uniquely situated to
bridge the widening social divide between Latin@s and African
Americans; at the same time, their experiences reveal pervasive
racism among Latin@s and ethnocentrism among African Americans.
Offering insight into Afro-Latin@ life and new ways to understand
culture, ethnicity, nation, identity, and antiracist politics, "The
Afro-Latin@ Reader "presents a kaleidoscopic view of Black Latin@s
in the United States. It addresses history, music, gender, class,
and media representations in more than sixty selections, including
scholarly essays, memoirs, newspaper and magazine articles, poetry,
short stories, and interviews.
While the selections cover centuries of Afro-Latin@ history,
since the arrival of Spanish-speaking Africans in North America in
the mid-sixteenth-century, most of them focus on the past fifty
years. The central question of how Afro-Latin@s relate to and
experience U.S. and Latin American racial ideologies is engaged
throughout, in first-person accounts of growing up Afro-Latin@, a
classic essay by a leader of the Young Lords, and analyses of U.S.
census data on race and ethnicity, as well as in pieces on gender
and sexuality, major-league baseball, and religion. The
contributions that Afro-Latin@s have made to U.S. culture are
highlighted in essays on the illustrious Afro-Puerto Rican
bibliophile Arturo Alfonso Schomburg and music and dance genres
from salsa to mambo, and from boogaloo to hip hop. Taken together,
these and many more selections help to bring Afro-Latin@s in the
United States into critical view.
"Contributors" Afro-Puerto Rican Testimonies Project, Josefina
Baez, Ejima Baker, Luis Barrios, Eduardo Bonilla-Silva, Adrian
Burgos Jr., Ginetta E. B. Candelario, Adrian Castro, Jesus Colon,
Marta I. Cruz-Janzen, William A. Darity Jr., Milca Esdaille, Sandra
Maria Esteves, Maria Teresa Fernandez (Mariposa), Carlos Flores,
Juan Flores, Jack D. Forbes, David F. Garcia, Ruth Glasser,
Virginia Meecham Gould, Susan D. Greenbaum, Evelio Grillo, Pablo
"Yoruba" Guzman, Gabriel Haslip-Viera, Tanya K. Hernandez, Victor
Hernandez Cruz, Jesse Hoffnung-Garskof, Lisa Hoppenjans, Vielka
Cecilia Hoy, Alan J. Hughes, Maria Rosario Jackson, James Jennings,
Miriam Jimenez Roman, Angela Jorge, David Lamb, Aida Lambert, Ana
M. Lara, Evelyne Laurent-Perrault, Tato Laviera, John Logan,
Antonio Lopez, Felipe Luciano, Louis Pancho McFarland, Ryan
Mann-Hamilton, Wayne Marshall, Marianela Medrano, Nancy Raquel
Mirabal, Yvette Modestin, Ed Morales, Jairo Moreno, Marta Moreno
Vega, Willie Perdomo, Graciela Perez Gutierrez, Sofia Quintero, Ted
Richardson, Louis Reyes Rivera, Pedro R. Rivera, Raquel Z. Rivera,
Yeidy Rivero, Mark Q. Sawyer, Piri Thomas, Silvio Torres-Saillant,
Nilaja Sun, Sherezada "Chiqui" Vicioso, Peter H. Wood
Before the turn of the century, while the rich in Madrid, Paris and
Rome capped their sumptuous dinners with sips of Puerto Rico's
exquisite black cafe, the anemic men, women and children who
harvested the precious crop lived in squalid huts and rarely saw a
scrap of meat. Brutalized by grinding poverty, theirs was the harsh
world of Manuel Zeno-Gandia's La Charca, published in 1894 and
widely acknowledged as the first major novel to emerge from Puerto
Rico. In the colloquial Spanish of Puerto Rico's hill-country, una
charca is a stagnant pond, a body of brackish water. Puerto Rico's
Spanish colonial society, says Zeno-Gandia, was an immense charca
of human beings, oppressed by poverty, ignorance and disease. His
bitter melodrama offers stark contrasts: the beautiful Puerto Rican
countryside, a veritable Garden of Eden; yet within that "regal
panorama," starved, diseased human beings clung desperately to
life.
Essential reading for understanding both national and panethnic issues that influence cultural expression and the construction of Puerto Rican identity in the US. Analyzes distinctiveness of Puerto Rican culture in New York in relation to that of other US Latino groups. Theoretically grounded essays address many of the contradictions behind the complex process of identity construction among Puerto Ricans and other Latinos. Focuses on popular music and literature"--Handbook of Latin American Studies, v. 58.
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